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THE BOOB 



Price, 25 Cents 




VALTER H. BAKER COMPANY 

BOSTON 



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Plays for Colleges and High Schools. 






The Air Spy 

Bachelor Hali 

The College Chap 

The Colonel's Maid 

Daddy 

The Deacon's Second Wife 

The District Attorney 

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Excuse Me 

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Katy Did 

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A Foul Tip 

The Man Who Went 

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Master Pierre PaiellJ 

How Jim Made Good 

Just Plain Mary 

Line Busy 

Mr. Bob 

Mrs. BrJggs of the Poultry Yard 

Nathan Hale 

Patty Malces Things Hun!« 

Professor Pepp 

A Regiment of Twe 

The Private Tutor 

The Rivals 

Silas Marner 

When a Feller Needs a Friend 

Sally Lunn 

The School for Scandal 

She Stoops to Conquer 

Step Lively 

The Submarine Shell 

The Thirteenth Star 

The Time of His Life 

Tommy's Wife 

The Twig of Thoro 

The Amazons 

The Conjurer 



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BAKER, Hamilton Place, Boston, Mass. 



THE BOOB 



A Comedy of Business Life 
In One Act 



By 

J. c. Mcmullen 

Author of " When a Feller Needs a Friend," 
" Turning the Trick." 



NOTE 

The professional and moving picture rights in this play are 
strictly reserved and application for the right to produce it 
should be made to the author in care of the publishers. Ama- 
teurs may produce it without payment of royalty on condition 
that the name of the author appears on all programmes and adver- 
tising issued in connection with such performances. 




j/fensft^ 



BOSTON 
WALTER H. BAKER COMPANY 

I 9 2 I 



THE BOOB 



CHARACTERS 

In order of appearance 

Clayton, the boss. 
Young, the boob. 
Martin, the efficiency expert. 
Madge, the girl. 
Hartman, the confederate. 

Scene. — Private office of the boss. Los Angeles, Cal. 
Time.— The present. 




Copyright, 1921, by J. C. McMullen 
As author and proprietor. 

Professional stage and moving picture rights 
reserved to tlit author. 



©CI.D 58H:32 

SEP \^\n\ 



I 



NOTES 

The Boss. Should be played by a heavy, well-built 
man, to give a good contrast with The Boob. He should 
be quick and decisive in his manner, indicating the ag- 
gressive, successful business man. 

The Boob. The opposite of The Boss; timid, bash- 
ful, and very much in awe of his employer. Toward the 
end of the play, as indicated by the dialogue, should throw 
off his timidity, becoming self-assertive, quick and re- 
sourceful. 

The Efficiency Expert. Suave and polished, dark, 
small black mustache. The impression is given that he 
is a Mexican, but this should be indicated by nothing in 
his speech, dress or manner. 

The Girl. A girl of twenty. Ordinary street dress. 



The Boob 



SCENE.— The Boss's office. The stage should he set 
with large flat-top desk, l. ; small typewriter desk with 
typewriter, r. ; chair back of each desk; chair to the r. 
of large desk. Papers, letters, etc., on typewriter desk. 
Tee square, blueprints, papers and files on large desk. 
Door c, one r. and l. Large book on floor between 
large desk and door r. Office furniture can be added 
as desired. 'Phone on large desk. 

{The curtain rises on Clayton at large desk, writing, 
smoking a cigar. 'Phone rings twice.) 

Clayton. Confound it! {At 'phone.) Clayton 
speaking. — What ? — Speak up, speak up ! {Rattles hook. ) 
Now then; what do you want? — {Sharply.) What's 
that ? — Oh ! You want to know when they intend com- 
mencing work on the S. D. & Y. Railroad ? — Um-hum. 
Well, allow me to inform you that that is none of your 
business. {Slams receiver on hook and angrily goes over 
papers on his desk. Looks at watch; then at door, r. 
Rises and crosses to door, r., and calls.) Young! 
{Pause.) Martin! {Pause.) Glenn! {Pause. Turns 
to go back to desk and falls over large book on floor. 
Gets up to sitting position and holds foot with which he 
bumped book.) Now who in blazes put that thing 
there ? 

Young {enters hurriedly, l., with note-hook and pen- 
cil, which he places on typewriter desk; then runs to as- 
sist Clayton). Did you fall, sir? 

Clayton {angrily). No! You confounded fool! I 
sat down to manicure my toe-nails. {Rises.) Do you 



O THE BOOB 

suppose I sat down there for the fun of it? (Brushing 
his clothes.) What I would Uke to know is, who put 
that book there ? 

Young {meekly). I did, sir. I was using it this 
morning to prop my feet while I was checking the report 
to the State, sir. 

Clayton (going to desk). Well, put your feet in 
your pocket the next time you have a report to check 
and don't be such a fool as to let a thing like that lie 
around for some one to fall over. 

Young (sitting at typewriter). Yes, sir. 

Clayton. I say. Young (Turns and looks at 

Young a moment.) By the way, you have been with me 
over three years and I never have found out your Chris- 
tian name. What is it? 

Young (turns toward Clayton). Shakespeare. 

Clayton. Shakespeare ! No wonder you hid it. Any 
more of it? 

Young. Yes ; Shakespeare Byron Longfellow Young. 

Clayton. Great heavens! What was your mother 
thinking about? 

Young. I don't know, I'm sure, sir. I never tell it 
to anybody unless I can't get out of it. I think she 
wanted me to grow up to be a poet. 

Clayton. Poet? Bosh! With a name like that 
tacked onto you, you are more likely to be a nut. Is your 
mother living now? 

Young. No, sir. She died when I was five. 

Clayton (pause, while he looks Young over from 
head to foot). She was lucky. (Young turns to type- 
writer.) Have you your note-book? 

Young. Yes, sir. 

Clayton. Take a letter. (Young takes note-hook 
and hurries to Clayton, sitting on chair, r. of desk. End 
of tee square shoidd he projecting out over edge of desk 
and he covered with hlueprints. He places his note-hook 
on this and scatters prints, etc., over floor. Scramhles 
to gather them up.) Oh, let ihem lie, let them lie. You 
never had any sense and I suppose never will. (Young 
seats himself at desk as Clayton dictates.) "Brown, 



THE BOOB y 

Brooks and Company. (Very rapidly.) I have yours 
of the seventh concerning the San Francisco Rapid Tran- 
sit bonds owned by me. They are not for sale. If they 
were, I wouldn't sell them to you. Yours truly." Got 
that? 

Young. Yes, sir. 

Clayton. Can't you say anything but " Yes, sir " ? 

Young. Oh, yes, sir — I mean, no, sir — that is 

Clayton. Then for heaven's sake say it once in a 
while. Your " Yes sirs " get on my nerves and make me 
lose my temper, which is something I seldom do. (Young 
smiles.) Now what are you smiling at, you jackass! 
(Stands and hammers desk as he talks. Young shrinking 
from him.) I want you to distinctly understand I never 
lose my temper, never, understand, never. Do you get 
me? 

Young (frightened). Y-y-y-yes, sir. Oh, I mean 
no, sir. 

Clayton (sitting). What's the use, what's the use? 
I don't believe you're alive anyhow. Take a letter: 
"Jones, Smith & Jones: Yours of the fifth concerning ex- 
tension of time on note. There is absolutely nothing I 
can do for you in this matter. (Pounds desk on each 
syllable of " absolutely.") I wrote you last week that 
there is nothing more to be said by me as I had turned 
the affair over to my lawyer. Have no patience with 
people of your class and don't want to receive any more 
letters from you. You make me lose my temper, which 
is something I seldom do. Don't want to hear from you 
again. Yours truly." Got that? 

Young. Yes, s — I mean, I have. 

Clayton. Write 'em up. 

Young (starts to his desk and falls over hook on floor, 
over which Clayton fell). I beg your pardon, but 

Clayton (without looking up). 'Sail right, 'sail right. 
Jarred something else out of you besides those con- 
founded yes sirs. (Yovt^G starts toward door, R.) Wait 
a minute. Why were you late in getting back to work 
at noon? 

Young. I couldn't get a table at the restaurant, sir. 



8 , THE BOOB 

Clayton. Oh, you couldn't! Why don't you go to 
a dairy lunch like I do? How much do you spend for 
your lunch ? 

Young. Seventy-five cents. There's a fine place just 
up the street 

Clayton (y^//5). What! Seventy-five cents? Don't 
want to hear about it. Never spend more than twenty- 
five. Don't want to hear about it. How do you expect 
to get along in the world if you spend seventy-five cents 
for your lunch every day? Why don't you do like me; 
get a bowl of soup, some coffee and sinkers. That's the 
way / do. You don't suppose I would be a millionaire 
to-day if I spent seventy-five cents for lunch every day, 
do you ? Where's Martin ? 

Young. I think he is over in the Accounting Depart- 
ment, sir. 

Clayton. Oh, you think he is? Why don't you 
know? Tnat's what I pay you for. But that's it. No 
one is ever here when they are wanted. Here I go and 
hire the best efficiency expert on the Coast to come in and 
straighten up my office and he's never here when he's 
wanted. {Goes through papers on desk.) Where did 
you put those papers on the S. D. & Y. Route ? 

Young. You will find them locked in your desk 
drawer, sir. I thought we would be using them again 
this afternoon and it wouldn't be necessary to put them 
back in the safe for such a short time. 

Clayton (trying drawer, which he finds locked). 
That's good. Never let 'em lie around. Always take 
good care of them, if I do forget them. 

Young. Are they so very valuable? 

Clayton. Valuable? I should say they are. I've 
been over three years working up the data for that route, 
which is San Isidro's only salvation. That city, with one 
of the finest harbors on the Pacific Coast, has been bot- 
tled up with but one railroad for the past thirty-five years. 
This S. D. & Y. Route is her chance to get an outlet di- 
rect to the East. 

Young. I see. 

Clayton. The mountains back of the city have al- 



THE BOOB 9 

ways been an impenetrable barrier to a railroad, but I 
fixed that. I have figured up a grade over those hills 
that will make the railroad world sit up and take notice. 
They said it couldn't be done, but they didn't reckon on 
Dick Clayton. No, sir. 

Young. No, I guess they didn't. 

Clayton. There's a concern calling themselves the 
San Isidro and Gulf Development Company that has been 
trying hard to find out our exact route so they can buy 
up the land along the right of way and hold us up for a 
big fat fee, but so far I've kept them in the dark. They 
are trying to get a road south from San Isidro and then 
east to the Gulf of California, which would run the road 
entirely on Mexican territory, and they have done every- 
thing on earth to block my plans, but so far I've kept 
just a little bit ahead of them. I'm determined San 
Isidro's outlet to the East shall be under the Stars and 
Stripes. It would mean a big thing to Lower California 
if the road ran through Mexican territory, but not this 
time, my boy. Let 'em get busy and build a road of their 
own, eh? {Looks at watch.) Now where in thunder is 
Martin? I want to have a talk with him before I go 
home this evening. No excuse for this; none whatever. 
Should be here when I want him. 

Young {rather embarrassed). I beg your pardon for 
mentioning it and it really is none of my business, I 
know, but I — I 

Clayton. Out with it, man; out with it. Don't be 
all day about it! What is it? 

(Martin appears c. d. Notices Young and Clayton 
talking and steps hack.) 

Young. It's Mr. Martin, sir. I think he acts a little 
suspicious. I have noticed him several times at your 
personal correspondence and 

Clayton. Bosh, bosh, bosh! That's what I hired 
him for. He's supposed to straighten the office up. 
Mustn't be so suspicious. You have no reason for sus- 
pecting Martin to be other than he represents himself. 
Besides, he came to me recommended from one of the 



lO THE BOOB 

biggest and best effidency bureaus on the Coast, Now 
trot along and write your letters. 

Young. All right, sir. I'm sorry I said anything. 

(Sits at typewriter desk.) 

Martin (enters c. d.). If I kept you waiting I'm 
sorry. I know I should be here when you want me, 
but 

Clayton. Don't make excuses. Never listen to them. 
A man that is always on time never has to make them. I 
told you to be here at four-thirty, and you weren't. Sit 
down. (Young begins typing.) Oh, cut out that con- 
founded clackety-clack. Young. I want to talk to Mar- 
tin. Write your letters in the other office. (Young 
exits, R., with note-book.) Well, how have you found 
things around the office so far as you have gone ? ( Mar- 
tin sits chair R. of desk.) You have been here a week 
and ought to be a little bit on to the job by this time. 
There has been entirely too much time wasted about this 
place and it must be stopped. What have you done 
about ii? 

Martin. I hired a new office boy first of all. A good 
impression on a visitor means a lot. The boy on the job 
was too slow and impertinent. 

Clayton. Yes, and had too many relations into the 
bargain. He lost about eight grandparents and sixteen 
aunts and uncles, more or less, during the last ball sea- 
son. But at that I liked the little runt. He could tell a 
lie with the best face of anybody I ever saw. What else 
have you done? 

(Clayton writing, etc., during this conversation.) 

Martin. I also let Miss Blaine go. She isn't a stenog- 
rapher and I don't think ever will be. I have also re- 
arranged the working hours in the Accounting Depart- 
ment and made several other minor changes. I have 
been going over your letter files for the past two days 
but have hardly been here long enough to make any show- 
ing as yet. By the way, how long has Young been with 
you? 



THB BOOB II 

Clayton. About three years. He's the biggest boob 
I ever saw and hasn't got the brains of a louse, but he's 
the only stenographer I ever had that could take my dic- 
tation without popping in every other minute with "What 
did you say ? " What's wrong with him ? 

Martin. Oh, nothing. Only he doesn't look much 
like the private secretary of a man in your position. 

Clayton. Never hire a man on his looks. Too de- 
ceiving. Take yourself, for instance. (Martin rises, 
offended.) No offense, no offense. Young looks like a 
boob, and is a boob, but he is loyal, keeps his mouth shut 
and gets out his work, and all that counts. 

Martin. Yes, it does, Mr. Clayton. In looking over 
your papers I noticed reference to the new S. D. & Y. 
Route across the mountains. Are you interested in that ? 
_ Clayton (without looking up). Don't know as that 
is any of your business. I didn't hire you to question me 
about what I am or am not interested in. Hired you to 
straighten up my office force. 

Martin. I beg your pardon. I will try and confine 
myself to those duties in the future. [Exit, r. 

Clayton (takes telephone receiver from hook; waits 
a moment. Takes out watch and then rattles receiver) 
Well, Central! I'm not interested in the price of the 
ring Cholly bought you. Do vou know you have already 
caused me to waste fifty- four seconds? Give me Broad- 
way 5986. 

Madge (enters, l.). Hello, Dad. 

(Crosses to r. of desk.) 

Clayton. Busy? Well, ring me up when it's not 
busy. (To Madge.) Now what do you want? 

Madge (sitting r. of desk and leaning over desk). 
Only twenty dollars this time, Dad. I saw the loveliest 
purse down street and I simply must have it, and I've 
only got five dollars with me. 

Clayton (writing check). Between you and your 
mother I suppose I'll be broke one of these days You 
are always about twenty dollars shy when you want to 
buy anything. 



12 THE BOOB 

Madge (goes around desk to Clayton and puts her 
arms around his neck as he blots check). Don't be cross, 
Daddy. I might have asked you for two hundred dol- 
lars. 

Clayton. Yes, and you mightn't have got it either. 

(Hands her check, which she takes and puts in her 
hand-hag. ) 

Madge {going around to c). Thanks. Where's Mr. 
Young ? 

Clayton. I thought so. You v^anted twenty dollars 
for a purse about as much as I want a cow just at pres- 
ent. {Shakes finger at her.) Now look here, young 
lady, I want to tell you something. I have been watch- 
ing you make sheep eyes at that poor boob for the past 
year or so and I want it stopped, understand me, I want 
it stopped. {Pounds desk.) 

Madge {innocently). Why, Daddy! How can you 
say such things? I wasn't making sheep eyes at him. 
Besides, I don't know how. 

Clayton. What are you hanging around here for 
then? You make his life miserable. What do you see 
in him? 

Madge {toying with purse). I like him, that's all. 
Then possibly it's because he doesn't hang around me. 

Clayton {throwing up hands). Oh, that's the 
woman of it. You can have all kinds of fellows, rich, 
poor, long, short, any old kind, but instead you run after 
that poor little simp of a stenographer because he don't 
run after you. Could you beat it ? 

Madge. Why, Daddy! 

Clayton. Don't try to act innocent with me. I know 
you. young lady. If you can get any pleasure by making 
him feel miserable, go to it. {Starts for door, l.) Please 
don't scare him too badly though, as he might quit, and 
I don't want to lose him, as he is the best stenographer 
I ever had. There's one thing, however, I want you to 
remember, don't think for a minute you are going to 
bring into the family as my son-in-law, Shakespeare 



THE BOOB 13 

Byron Longfellow Young. Enjoy yourself with him all 
you want, but let it go at that. [Exit, l. 

Madge. Shakespeare ! No wonder he would never 
tell me his name. I'll call him Shakie, for short. 
(Young enters, r., with letters he has typed, which he is 
reading. Does not notice Madge.) Good-afternoon, 
Mr. Young. 

Young (embarrassed, tries to answer and drops let- 
ters, which he stoops to pick up). Er — good-afternoon. 

Madge. Here, let me help you. (She gets down on 
floor to help him and they bump their heads together. 
Young drops everything he has gathered up and goes to 
typewriter, writing furiously on machine. Madge 
watches him a moment, then goes to him and shakes his 
shoulder.) Oh, stop it and come over here and sit down. 
(Pulls chair from r. of desk to c. of stage, then pulls 
chair from typewriter desk beside it, holding to Young all 
the time. She seats him to her r. He edges away from, 
her as much as possible.) To-morrow afternoon I am 
going out to the Midwick Club to a charity affair. I 
don't suppose it will amount to much, but I want you to 
go along. 

Young (rising). Oh, I couldn't get off. 

(Madge pulls him back.) 

Madge. I'll attend to that. (Young sighs.) Don't 
you want to go? 
Young. Oh, yes, yes. 

Madge. And then to-night 

Young (rising). To-night! 

(Madge pulls him back in seat.) 

Madge. Yes, to-night. To-night I (Notices his 

necktie.) Now you promised me you wouldn't wear 
that atrocious necktie again. Here! I bought you one 
this morning, for I just knew you would have that thing 
on when I got here. (Takes tie from purse.) You really 
ought to take a correspondence school course in " How to 
Dress." Now hold still, while I put this on you. 



14 THE BOOB 

(Begins untying his tie. They rise.) 

Young. But I don't want that one on. This one 
matches my socks. 

Madge. Matches your socks ! The idea ! ( Takes 
necktie off and puts other one on, pulling and jerking him 
around considerably doing it. Then stands back and 
looks at him.) There! That's much better. (Notices 
his trousers. ) Now, look at those trousers ! Didn't I 
tell you to get a longer pair? (Young looks down at his 
socks.) Men don't wear their trousers as short as that 
any more. (She stoops and pulls his trousers down two 
or three times, but they fly back again.) Oh, you are 
hopeless. If you don't learn to dress better you never 
will get a wife. 

Young. A wife! (Falls in chair.) 

Madge. Yes, a wife. (Sits beside him.) You ex- 
pect to get married some day, don't you ? 

Young (very much embarrassed). Er — ^yes, I sup- 
pose so. 

Madge. Now I know a girl, not so bad looking ; about 
twenty years old, father wealthy (Stoops to tie her shoe. 
Young very carefully tiptoes off stage, r.) and I believe 
she could even get you in the firm. (Straightens up and 
looks around, then speaks disgustedly.) Dad was right. 
He is a boob. [Exits, l., angrily, slamming the door. 

Martin (enters, l. Looks around stage as he stands 
just inside door. Goes c. d. and looks out into hall. 
Then goes to 'phone). Jordan 964. — Yes, yes, hurry! 

Rodriguez? This is Martinez. (Pause.) But 

(Pause.) But Just a moment, I haven't wasted 

my time. I know I have been here seven days, but I 
had to get my bearings. Now listen: I have found out 
the right of way isn't entirely bought up as yet, but it 
is all mapped out, and his figures for the grade over the 
mountain are completed. I'll get his map to-day some- 
how and then we can buy up the land in that locality and 
block him somehow. Both the maps and figures are 
right here in Clayton's desk. Had them locked in the 
safe before. Send Hartman around here about five min- 
utes after five and I'll have everything for him. (Looks 



THE BOOB 15 

at watch.) Better get a move on, as it's fifteen to five 
now. If he takes a taxi he'll just about have time to 
make it. There's a boob of a stenographer here that I 
think I can jolly into passing things over to me, but if 
not I'll make it somehow. (Yovsg enters, -l.) At eight 
o'clock, you say ? See Douglas Fairbanks at the Cinema ? 
Sure ! I'll be there. Have wanted to see him for a long 
time. Good-bye. (Hangs up receiver.) 

Young. Has she gone ? 

Martin. Who ? 

Young. Madge. I — I mean Miss Clayton. 

Martin. Evidently, as she is not here now and there 
was no one here when I came in. (Young moves chair 
back to his desk and sits down, wiping his face with 
handkerchief.) What's the matter? 

Young. Oh, nothing, only I had quite a talk with her 
and 

Martin. And as you are so bashful, she got your 
goat. Is that it? 

Young. I guess that's about it. 

Martin {crosses to Young and slaps him on the 
hack). Why don't you brace up, old sport? Don't be 
so bashful. That will never buy you anything. She 
can't hurt you. How long have you known her ? 

{Sits on typewriter desk facing Young.) 

Young. About three years. 

Martin. Do you like her? 

Young. Yes, but 

Martin. Well, then buck up, man. If I had only 
known the girl a week and she showed she was as much 
interested in me as she is in you the wedding march 
would be all over and we would be trotting up to Papa 
and asking for his blessing. 

Young {interested). You would? But every time 
I talk to her I get shivers up and down my back and my 
knees tremble and I can't say a word and, and, — oh. 
Lord, man, it's awful. {Rises and zvalks l.) I like her 
and would like to get really acquainted with her but I'm 
so darned bashful — 



l6 THE BOOB 

Martin (laughing). By George! I didn't think it 
was in you. 

Young. What? 

Martin. That "darn." (Crosses to Young.) I'll 
tell you what's the matter with you. You are entirely 
too humble. You let her do all the talking. You do 
some of it. You are not assertive enough. Use a little 
slang once in a while; even a little cuss word. They 
like it. Don't always agree with her either. Let her 
know you have some back bone. 

Young (thoughtfully). Maybe that womW help. 

Martin. I'm sure of it. That woman never lived 
that down deep in her heart doesn't like a man to boss 
her. Then you could take her out once in a while, say, 
to a dance occasionally. 

Young. But I don't dance. 

Martin. Then it's time you learned. Here, I'll give 
you the address of a place I go to once in a while. 
(Takes card case from pocket and removes card from it, 
dropping one on the floor at the same time. Writes 
something on card removed from case.) That's a fine 
place and a nice class of people go there. (Hands card 
to Young.) I've given you a little note to the manager. 
He'll take care of you. ( Walks back of desk and begins 
going over papers.) Mr. Clayton tells me he thinks very 
highly of you. 

Young (at typewriter). Does he? 

Martin (watching Young closely). I understand 
from a conversation I had with him to-day that he trusts 
you with all his private papers. 

Young. He does with some of them. 

Martin. A young fellow like you ought to be able to 
make something out of the friendship of a big fellow like 
Clayton. It isn't every one that has the chance you have. 
I had an opportunity like yours once. I was working in 
the office of one of our big railroad men when they first 
talked about putting this S. D. & Y. road through the 
mountains back of San Isidro and I had an opportunity of 
acquiring some of the land along the proposed right of 
way, and for a song at that, but didn't expect it would 



THE BOOB^ 17 

ever amount to anything. It would be a great thing for 
a young fellow to buy up some of that land if he only 
knew where they were going. 

Young. Do you think there would be some money in 
a scheme of that sort ? 

Martin. I don't think it, I know it. 

Young. Mr. Clayton is back of that San Isidro route. 
I don't know much about plans and blueprints but he was 
telling me to-day that only a few minor details are lack- 
ing in the Azusa Trade, When they are secured every- 
thing will be turned over to the S. D. & Y. people to be- 
gin operations. He said he would be mighty glad to get 
the thing off his hands too, as the San Isidro and Gulf 
people 

(Stops suddenly as he notices Martin watching him.) 

Martin. Yes, yes ! The San Isidro and Gulf peo- 
ple. What else? 

Young. Really I forgot just what he did say about 
them. (Starts writing on machine,) 

Martin (starts toward Young angrily. Stops and 
laughs forcedly). Well, the next time you are talking 
to the young lady we just mentioned, wake up and let her 
know you are alive. [Exit, c. d. 

Young (turns on chair and looks after him, puzzled. 
Goes to desk and feels drawer to see if it is locked. 
Goes around front and notices card on floor. Picks it 
up and looks at it. Looks out c. d. and then goes to 
'phone.) Jordan 964. Is this the post-office ?— Oh ! 
The San Isidro and Gulf Development Company. I beg 
your pardon. Wrong number. (Hangs up 'phone.) 
Of all the crust ! 

(Goes to c. D. and looks out, then goes hack to desk, un- 
locks drazver and takes out papers and plans, which 
he puts in his pocket. Looks around for something 
to take their place. Takes newspaper from desk and 
puts card given him by Martin in if. Then puts 
rubber band around paper, wraps blueprint around it 
and puts it back in drawer, locking drawer. Sits 



1 8 THE BOOB 

down at typewriter and begins writing and whis- 
tling.) 

Madge {enters, l., and crosses, standing behind 
Young. He looks up and sees her, but keeps on writ- 
ing). My! You can write fast, Mr. Young. 

Young. Um-hum. 

{Keeps on writing, paying no attention to her.) 

Madge {after slight pause). I wish I could write on 
one of those things Uke you can. 

Young. Um-hum. 

Madge. I don't see how you can make your fingers 
go so fast. 

Young. You don't? {Keeps on writing.) 

Madge. How do you make all the little keys strike 
right there, Mr. Young? 

{Puts finger on roller of machine.) 

Young {jumps up from chair, tears letter from ma- 
chine, crumples it up and throws it in waste-basket). 
Of all the dog-goned fool questions! Can't you keep 
your mouth shut when you see a fellow's busy? 

Madge {surprised). Why, Mr. Young! 

Young (excited). You come in here and blab and 
gabble around and make me spoil my letter, a full page, 
single space one at that. I don't see why you have to 
pick on me to stand all your nonsense. Why don't you 
take it out on your father? He don't have to stay over- 
time if his work isn't out. I do. 

Madge {admiringly). Oh, Shakie! I think that was 
grand ! Say it again ! 

Young. Shakie! Oh, good Lord! 

(Runs out, R. Madge looks after him a moment and 
then sits down at desk, pecking at machine with one 
finger.) 

Clayton {enters, l., with letter in hand. Sits at desk 
and begins dictating without looking up). Take a letter! 
" Dear Mr. Lane : I am sorry I will be unable to accept 



THE BOOB 19 

contract with your concern for the new road through the 
Imperial Valley, as just at present I am tied up with this 
S. D. & Y. deal. If the deal is held open for two months, 
may possibly be able to accommodate you." Got that? 

Madge {who has been pecking at typewriter during 
the above). Yes, Daddy. 

Clayton {turning toward her) . What the Are 

y(m here yet ? 

Madge. No, not yet; again. 

Clayton. Where's Young? 

Madge. I guess I scared him off, Daddy. 

Clayton. What have you been doing now? 

Madge. Nothing much. All I did was put a new 
necktie on him, try to get him to wear the right kind of 
trousers and call him Shakie. 

Clayton {crossing to her). Shakie! A new neck- 
tie! And you had the nerve to tell him the kind of 
trousers he should wear. No wonder you scared him 
out. If there is one thing a man resents, it is a woman 
telling him the kind of clothes he should wear. The 
first thing he knows you will have him wearing ruffles 
on his B. V. D.'s and pink bows on his nightie. 

Madge {rising horrified) . Why, Daddy! 

Clayton {taking her by the arm and starting l.). Now 
you just come along with me and I will put you in my car 
and start you home. This is a place where we come to 
work, not talk about the kind of pants a man should 
wear. Come along. 

Madge {resisting). But I don't want to go home. 

Clayton. I know you don't, but you are going just 
the same. 

(He pulls her out door l., she resisting, saying, ''Daddy, 
I don't want to go home yet. Please, Daddy." 
Young enters, r., wearing coat and hat. Goes to 
desk and arranges papers and letters, watching door, 
R., as he does so. He then goes to door l., opens and 
shuts door with a slam, and runs extreme r., hiding 
back of typewriter desk.) 

Martin {enters, r., opening door very slowly and 



20 THE BOOB 

closing it softly behind him. Tiptoes to door L. and lis- 
tens. Then goes to 'phone). Jordan 964. — Martinez. 
How about Hartman. — Should be here by now? Good! 
(Hangs up receiver. Hurries through papers on desk, 
watching r. and l. for fear of discovery. Doesn't find 
what he wants. Takes key-ring from pocket and opens 
drawer after trying several keys.) Ah! {Takes pack- 
age from drawer placed there by Young and goes front 
c. Opens package and finds card. Reads. ) " Intro- 
ducing Mr. Young, A. Martin." What the devil 

(Young has circled around behind Martin. Grabs 
him by elbows and pinions arms behind his back. 
They struggle and revolver falls from Martin's 
pocket. Revolver should fall near desk, l. Struggle 
carried on until Martin and Young extreme r. 
Madge enters, l., stopping suddenly as she notices 
the men. Sees revolver, which she picks up. She 
then stands in front of desk with revolver ready. 
Hartman enters, l. ; sees Martin and Young. 
Grabs paper-weight from desk and starts toward 
Young with arm raised.) 

Madge {goes c. with revolver). I wouldn't if I were 
you. {They all turn toward her, Hartman still with 
arm upraised.) Drop it ! I have you covered and I can 
shoot. (Hartman drops paper-weight.) 

Clayton {enters, l., notices Madge with revolver). 
What in thunder's going on here? I thought you were 
on your way home. {Sees Young.) Young! What 

the blazes {Goes to desk and notices open drawer.) 

My plans, Young ! My plans ! They're gone ! 

Young. No! Here they are. {Hands them to 
Clayton. Then takes revolver from Madge.) Now, 
then, get over there, both of you. 

{Points R. Martin and Hartman go extreme R.> 
Young keeping them, covered with revolver.) 

Clayton. What does all this mean ? 

Young. It means, Mr. Clayton, that your efficiency 



THE BOOB 21 



expert happens to be from the office of the San Isidro 
and Gulf people. 

Clayton. San Isidro and Gulf? What do you 



mean 



Young. Just what I say. Look at this. {Hands 
Clayton card.) I picked that up on the floor about a 
half hour ago, where Mr. Martinez had dropped it. 

Clayton {puzzled). Martinez? 

Young. Read the card. 

Clayton {reading). "Adolf o Martinez, Los Angeles. 
'Phone, Jordan 964." Well, what of it? 

Young. Jordan 964 happens to be the 'phone number 
of the San Isidro and Gulf general office. 

Clayton. What ! 

Young. Exactly ! Martinez, I suppose that's Mr. 
Martin's real name, had been trying to pump me con- 
cerning your plans and when I found the card on the 
floor where he had been standing a few moments before, 
my suspicions were aroused from the similarity in names. 

Clayton. Naturally. 

Young. When I called up and found out that Jor- 
dan 964 was the San Isidro and Gulf office I determined 
to watch our friend, so instead of going home promptly 
at five, as usual, I hid there {Points.), and heard our 
friend call for his confederate to come for the plans. I 
surmised what he was after and had already removed 
them, so all he found was his card, with my compli- 
ments. 

Clayton {at 'phone). Send the door man to my pri- 
vate office at once. {Hangs up 'phone.) By George! 
You're a wonder, Young. Let's shake on it. 

{Extends hand.) 

Young. We had better wait until these two birds are 
out of the way. 

Madge. Oh, Shakie! I think It was wonderful ! 

Young. Oh, forget it ! 

Madge {to her father). What has come over him. 
Daddy? He isn't a bit like himself. 

Clayton. I always thought a little excitement would 



22 THE BOOB 

do him good and it surely has. Then I believe we were 
all more or less deceived in our young friend. You 
never can tell about these meek fellows. {Rap at door, 
L.) Just a moment. {At door.) Wait there, please. 
He's here, Young. 

Young. Come on, both of you. {Goes to door, l., 
covering Martin and Hartman with revolver.) Hurry 
up. {They cross to door, l.) Step right out, gentle- 
men; you will be well taken care of. {Hands gun to 
doorman outside.) Take these two fellows around the 
block to Central Station. Tell the Sergeant Mr. Clayton 
will prefer charges against them this morning. 

{Closes door and goes down front.) 

Clayton. Well, I'm certainly obliged to you, my 
boy. You handled that remarkably well and I must say 
you have developed some within the past half hour. 
{Reaches hand and they shake hands. Clayton clears 
his throat a couple of times and then yells.) Take a 
letter ! {Sits at desk and dictates, Young making fran- 
tic efforts to get note-book and pencil from typewriter 
desk, opening first one drawer then the other. Finally 
finds them and crosses to large desk, taking notes.) 
" Messrs. Paul, Williams and Company. Am sorry to 
advise you we can't supply you with the material you 
are after. It is entirely out of our line. (Madge leans 
over Yov^g's shoulder and speaks to him. He drops 
pencil, turns and looks up at her. Then rises and they 
stand c, talking very earnestly.) Possibly if you took 
the question up with the Pacific Coast Supply Company 
they would be able to accommodate you. If not, I am 
afraid you will have to send to New York for it. Yours 
truly." Got that? {Pause as Clayton goes over his 
papers without looking up.) I say, have you got that? 
{Looks up and sees Madge and Young.) Boob, did I 
call him ? Boob, the devil ! There's nothing slow about 
him. 

{Leans hack in chair and chuckles as curtain descends.) 
CURTAIN 



OLD DAYS IN DIXIE 

A Comedy-Drama in Three Acts 
By Walter Ben Hare 

Five males, eight females. Scene, a single interior. Costumes of the 
period. Plays two hours and a quarter. Beverly Bonfoey, a high type 
of Southern gentleman, loves Azalea, his mother's ward, but Raoul 
Chaudet, a Canadian adventurer, to whom he has given the hospitality of 
Bonfoey, steals her love. Forced to leave suddenly because of crooked 
money transactions, he persuades her to elope, but this is prevented by a 
wonderfully dramatic device. Beverly then challenges Raoul, who shows 
the white feather and runs away, and Beverly, to save the family honor, 
assumes the consequences of his swindling transactions. The untying of 
this knot is the plot of a strong play with a genuine Southern atmosphere 
written wholly from the Southern point of view. Royalty, ^lo.oo for the 
first and ;?5.oo for subsequent performances by the same cast. 
Price, jj cents 

CHARACTERS 

The Prologue, the Goddess of the South. 

Madame Bonfoey, mistress of the plantation. 

Azalea, her ward. 

Nancy, Azalea's sister. 

Cousin Sallie Sellers, yn?/« a neighboring estaU. 

Phcebe, a little coquette. 

Mary Rose, Phcebe' s sister. 

Mam' Dicey, the house mammy. 

Beverly Bonfoey, the young heir. 

Judge Pennymint, his uncle. 

Raoul Chaudet, a visitor from Quebec. 

Cameo ChEUM.jfrom the city. 

Unker Shad, a bit of old mahogany. 

Beaux and Belles of Dixie. 

SYNOPSIS OF SCENES 
Act I. The drawing-room of the Bonfoey Plantation in 1849. 
The letter. 
Act II. The dinner party. The duel. 
Act III. An April morning, three years later. The return. 

THE ORIGINAL TWO BITS 

A Farce in Two Acts 

By Hazel M. Robinson 

\Vritten for and presented by The Invaders Club of the United 

Baptist Church of Lewiston, Maine 

Seven females. Scene, an interior. Plays twenty minutes. The girls 
in camp receive a visit from a neighbor and have to borrow the neighbor's 
own dinner in order to feed them. They almost get away with it — not 
quite. Irish comedy character, eccentric aunt, rest straight. 
Price, 2j cents 



students at 
Hatton Hall School. 



CAMP FIDELITY GIRLS 

A Comedy in Four Acts 

By Edith Lowell 

Dramatized by permission from the well-known story fy 

Annie //ami/ton Donnell 

One male, eleven females. Scenery, two interiors. Plays two hours. 
A jolly party of girls occupy an old farmhouse for the summer and there 
discover a secret that makes for the happiness and prosperity of a poor 
little cripple. A very " human " piece full of brightness and cheer and 
with a great variety of good parts. 

Price, 3S cents 

CHARACTERS 
Barbara Wetherell 
Judy Wetherell, her sister 
Jessica Thayer 

Mary Shepherd, otherwise Plain Mary 
Edna Hull 
Mrs. Tucker, a next-door neighbor. 
Johnnie Tucker, known as yohnnie-Som, 
Barnaby Campbell, a dig child. 
Jennie Brett, a country girl. 
Cousin Salome. 
Aunt Elizabeth. 
Uncle Jeff. 

SYNOPSIS OF SCENES 

Act I. Room at Hatton Hall School. 

Act II. Scene I. Camp Fidelity. Afternoon. Scene II. The 
next morning. 

Act III. Scene I. Same. Two veeks later. Scene II. Midnight. 

Act IV. Scene I. Same. Six weeks later. Scene II. A half 
hour later. 

MARRYING MONEY 

A Play in One Act 

£y Alice L. Tildesley 

Four females. Scene, an interior. Plays half an hour. The girls seek 

a job with the millionaire's mother and one of them gets one for life with 

the millionaire. One eccentric character and three straight. 

Price, 2^ cents 

THE OVER-ALLS CLUB 

A Farce in One Act 
By Helen Sherman Griffith 
Ten females. Scene, an interior. Plays half an hour. The " Over- 
Alls Club " meets for the first time in its denim costume with enthusiasm 
Cor economy that only lasts until young Dr. Ellery is announced. Finishes 
Id pretty gowns. 

Price, 2j cents 



HAMILTON 

A Play in Four Acts 
By Mary P. Hamlin and George Arliss 
Eleven males, five females. Costumes of the period ; scenery, three 
interiors. Plays a full evening. Royally for amateur performance where 
an admission is charged, 325.00 for each perfoimance. Special royalty of 
Sio.oo for performance by schools. This play, well known through the 
performances of Mr. George Arliss slill continuing in the principal theatres, 
presents the builders of the foundations of the American Republic as real 
people, and its story adroitly illustrates not merely the various ability ol 
its leading figure, Alexander Hamilton, but the unconquerable courage 
and determination that were his dominating characteristics. The vivid- 
ness with which it vitalizes the history of its period and the power with 
whicli it emphasizes Hamilton's most admirable and desirable quality, 
make it most suitable for school use, for which special terms have ieen 
arranged, as above. Strongly recommended. 
Price, 60 cents 

CHARACTERS 
Alexander Hamilton. Colonel Lear. 

General Schuyler. First Man. 

Thomas Jefferson. 

Monroe. Betsy Hamilton. 

Giles. Angelica Church. 

Tallyrand. Mrs. Reynolds. 

Jay. Soldier's Wife. 

Zekiel. Melissa. 

Reynolds. 

THE SCENES 
Act I. — The Exchange Coffee House in Philadelphia. 
Act II. — A room in Alexander Hamilton's house in Phila- 
delphia. (The ofifice of the Secretary of the Treasury.) 
Act III. — The same. (Six weeks later.) 

Act IV. — A reception room in Alexander Hamilton's house. 
(The next morning.) 

THE MINUTE MAN 

A Patriotic Sketch for Girls of the High School Age in a 

Prologue and Three Episodes 

By Nellie S. Messer 

Thirteen girls. Costumes, modern, Colonial and of the Civil War 

period. Scenery, three interiors. Plays an hour and a half. Betty and 

Eleanor, typically thoughtless girls of the present day, run across the 

diaries of Bess's mother and grandmother, which relate the experiences of 

girls of their age and kind at previous periods of their country's history, 

and learn a vivid lesson in patriotism. The scenes of the past are shown 

in dramatic episodes visualizing the matter of the diaries that they read. 

A very clever arrangement of a very stimulating subject, strongly recom 

mended for all occasiojis where the promotion of patriotism is desired. ^ 

tinely lesson .strongly enforced. 

Price, agceMft 



LUCINDA SPEAKS 

A Comedy in Two Acts 
By Gladys Ruth Bridgham 
Eight women. Scene, an interior ; costumes, modern. Reyt an hour 
and a quarter. Isabel Jewett has dropped her homely middle name, 
Lucinda, and with it many sterling traits of character, and is not a very 
good mother to the daughter of her husband over in France. But cir- 
cumstances bring " Lucinda " to life again with wonderful results. A 
pretty and dramatic contrast that is very effective. Well recommended. 
Price, 2$ cents 

CHARACTERS 

Isabel Jewett, agfd zy. 
Miriam, her daughter, aged y. 
Mrs. McBierney, aged ^o. 
Tessie Flanders, aged i8. 
Mrs. Douglas Jewett, aged 45. 
Helen, her daughter, aged 20. 
Mrs. Fogg, aged 35. 
Florence Lindsey, aged 25. 

SYNOPSIS 

Act I. — Dining-room in Isabel Jewett's tenement, Rwiburf, 
October, 1918. 

Act II. — ^The same — three months later. 

WRONG NUMBERS 

A Triologue Without a Moral 
By Essex Dane 
Three women. Scene, an interior ; unimportant. Costumes, modern. 
Plays twenty minutes. Royalty, ^5.00. An intensely dramatic episode 
between two shop-lifters in a department store, in which " diamond cuts 
diamond " in a vividly exciting and absorbingly interesting battle of wits. 
A great success in the author's hands in War Camp work, and recom- 
mended in the strongest terms. A really powerful little play. 
Price, 25 cents 

FLEURETTE & CO. 

A Duologue in One Act 
By Essex Dane 
Two women. Scene, an interior ; costumes, modern. Plays twenty 
minutes. Royalty, ^5.00. Mrs. Paynter, a society lady who does not 
pay her bills, by a mischance puts it into the power of a struggling dress- 
maker, professionally known as " Fleurette & Co.," to teach her a valu- 
able lesson and, incidentally, to collect her bill. A strikingly ingenious 
and entertaining little piece of strong dramatic interest, strongly reeom- 
mended. 

Price, 25 cents 



THE AIR-SPY 

A War Play in Three Acts 
By Mansfield Scott 
Twelve males, four females. Costumes, modern ; scenery, a single in- 
terior. Plays an hour and a half. Royalty, gio.oo for first, $5.00 for 
subsequent performances by same cast ; free for school performance. In- 
spector Steele, of the Secret Service, sets his wits agamst those of German 
emissaries in their plot against Dr. Treadwell's air ship, a valuable wai 
invention, and baffles them after an exciting pursuit. An easy thriller, 
full of patriotic interest. Easy to get up and very effective. Strongly 
recommended for school performance. Originally produced by Th« 
Newton (Mass.) High School. 

Price, 55 cents 

CHARACTERS 
Dr. Henry Treadwell, inventor of the Giant Air-skip. 
Victor Lawrence, his pretended friend — a German sPy. 
Harold Felton, of the United States Army. 
Carleton Everton, a young Englishjnan. 
Karl Schoneman, of the German Secret Serviet. 
Franz Muller, his assistant. 
Arthur Merrill, also of the United States Army. 
Inspector Malcome Steele, of the United StaU* Secret Service- 
Henry Gootner, a German agent. 
Francis Drury, one of Treadwell' s guests. 
Corporal Thayer. 
Private Freeman. 

Ruth Treadwell, Treadwell's daughter. 
Muriel Lawrence, Lawrence's daughter. 
Mrs. Treadwell. 
Margaret Linden, a friend of Ruth's. 

The Time. — America's second summer in the war. 
The Place. — A deserted mansion on a small island near £a4«* 
port, Maine. 

SYNOPSIS 
Act I. The afternoon of June loth. 
Act II. The evening of September 21st. 

Act III. Scene i. The afternoon of the next day. About 1:30. 
Scene 2. An hour later. 

ART CLUBS ARE TRUMPS 
A Play in One Act 
By Mary Moncure Parker 
Twelve females. Costumes of 1890 with one exception ; .**»iie, a single 
easy interior. Plays thirty minutes. Describes the trials ot an ambitious 
woman who desired to form a club in the early days of club life for 
women about thirty years ago, before the days of telephones and auto- 
mobiles. A capital play for ladies' clubs or for older women in general. 
The costumes are quaint and the picture of life in the year of the Chicago 
World's Fair offers an amusing contrast to the present. Recommended. 
Price, 2S cents 



THE CONJURER 

A Dramatic Mystery in Three Acts 

By Mansfield Scott 

Author of "The Submarine Shell," "The Air-Sfy," Ht. 

Bight male, four female characters. Costumes, modern ; scenery, tw« 
easy interiors. Plays a full evening. Royalty for amateur performance, 
lio.oo for the first and $5.00 each for subsequent performances by the 
same company. Free for school performance. George Clifford, in- 
capacitated for service at the front, employs his great talents as a conjurer 
to raise money for the soldiers. He is utilized by Inspector Steele, of tlie 
U. S. Secret Service, in a plan to discover certain foreign spies. The plan 
goes wrong and involves seven persons in suspicion of a serious crime. 
Clifford's clever unravelling of this tangled skein constitutes the thrilling 
plot of this play, the interest of which is curiously like that of the popular 
"Thirteenth Chair." This is not a " war-play " save in a rery remote 
and indirect way, but a clever detective story of absorbing interest. 
Strongly recommended. 

Price, J5 cents 

CHARACTERS 

Inspector Malcome Steele, Driscoll Wells. 
George Clifford. Doctor Gordon Pbak* 

Captain Frank Drummond Detective White. 

Gleason. Marion Anderson. 

Lieutenant Hamilton War- Edith Anderson. 

WICK. Ellen Gleason. 

Colonel Willard Anderson. Dorothy Elmstrom. 

SYNOPSIS 

Act I. — The home of Colonel Anderson (Friday evening). 
Act II. — The office of Inspector Steele (Saturday afternoon). 
Act III. — The same as Act II (Saturday evening). 



THE OTHER VOICE 

A Play in One Act 
By S. vK. Fairbanks 
Three voices, preferably male, are employed in this little novelty which 
it intended to be presented upon a dark stage upon which nothing is 
actually visible save starlight. It was originally produced at Workshop 
47, Cambridge, where its effective distillation of the essential oil of tragedy 
was curiously successful. An admirable item for any programme seeking 
variety of material and effect. Naturally no costumes nor scenery are re- 
quired, save a drop carrying stars and possibly a city sky>line. Plays ten 
minutes only ; royalty, 35-00. 

Price, 2J cents 



HITTY'S SERVICE FLAG 

A Comedy in Two Acts 

By Gladys Ruth Bridgham 

Eleven female characters. Costumes, modern ; scenery, an interior. 

Plays an hour and a quarter, Hitty, a patriotic spinster, quite alone in 

the world, nevertheless hangs up a service flag in her window without 

any right to do so, and opens a Tea Room for the benefit of the Red 

Cross. She gives shelter to Stella Hassy under circumstances that close 

other doors against her, and offers refuge to Marjorie Winslow and her 

little daughter, whose father in France finally gives her the right to the 

flag. A strong dramatic presentation of a lovable character and an ideal 

patriotism. Strongly recommended, especially for women's clubs. 

Frice^ 2j cents 

CHARACTERS 

MEHITABLE JUDSON, aged ^O. 

LuELLA Perkins, aged 40. 

Stasia Brown, aged 40. 

Mildred Emerson, aged 16. 

Marjorie Winslow. aged 23. 

Barbara V^i^suovf, her daughter, aged 6. 

Stella Hassy, aged 23, but claims to be youngtr, 

Mrs. Irving Winslow, aged 43. 

Marion Winslow, her daughter, aged 20. 

Mrs, Esterbrook, aged 43. 

Mrs. Cobb, anywhere from 40 to 60. 

THE KNITTING CLUB MEETS 

A Comedy in One Act 

By Helen Sherman Griffith 

Nine female characters. Costumes, modern ; scenery, {.n iiiterlor. 

Plays half aii hour, Eleanor will not forego luxuries nor in other wayf 

" do her bit," putting herself before her country ; but when her old 

enemy, Jane Rivers, comes to the Knitting Club straight from France to 

tell the story of her experiences, she is moved to forget her quarrel and 

leads them all in her sacrifices to the cause. An admirably stimulating 

piece, ending with a " melting pot " to which the audience may also be 

asked to contribute. Urged as a decided novelty in patriotic plays. 

Price, 2J cents 

GETTING THE RANGE 

A Comedy in One Act 
By Helen Sherman Griffith 
Eight female characters. Costumes, modern; scenery, an exterior. 
Well suited for out-ofdoor performances. Plays an hour and a quarter. 
Information of value to the enemy somehow leaks out from a frontier 
town and the leak cannot be found or stopped. But Captain Brooke, of 
the Secret Service, finally locates the offender amid a maze of false clues, 
in the person of a washerwoman who hangs out her clothes day after day in 
ways and places to give the desired information. A capital play, wrll 
recoukinenched. Price, 23 f«**t^ 



THE ELOh'EiMENT OF ELLEN 

A Farce Comedy in Three Acts by Marie J. Warren, Four males, 
three females. Costumes, modern ; scenery, one interior and one exte- 
rior. Plays an hour and a half. A bright and ingenious little play, ad- 
mirably suited for amateur acting. Written for and originally produced 
by Wellesley College girls. Strongly recommended. 
Price, 35 cents 

A VIRGINIA HEROINE 

A Comedy in Three Acts by Susie G. McGlone. Eleven female char 
acters. Scenery, easy ; costumes, modern. Plays one hour and forty-five 
minutes. Irish and Negro comedy parts, and two character parts; most 
of the characters young. A very easy and interesting play for girls, wtU 
suited for school performance. Romantic interest with lots of comedy. 
Price, J5 cents 

OUR CHURCH FAIR 

A Farcical Entertainment in Two Acts by Jessie A. Kelley. Twelve 
females. Costumes, modern ; scenery, unimportant. Plays an hour and 
a quarter. A humorous picture of the planning of the annual church fair 
oy the ladies of the sewing circle. Full of local hits and general human 
nature, and a sure laugh-producer in any community. Can be reeooh 
mended. Price, 2^ cenis 

ALL CHARLEY'S FAULT 

A Farce in Two Acts by Anthony E. Wills. Six males, three females. 
Scenery, an easy interior ; costumes, modern. Plays two hours. A very 
lively and laughable piece, full of action and admirably adapted for ama- 
teur performance. Dutch and Negro comedy characters. Plays very 
rapidly with lots of incident and not a dull moment. Strongly recom 
mended. Price, 2S cents 

HOW THE STORY GREW 

An Entertainment for Women's Clubs in One Act by O. W. Gleason. 
Eight female characters. Costumes, modern ; scenery, unimportant ; niaj 
be given on a platform without any. Plays forty-five minutes. A very 
easy and amusing little piece, full of human nature and hitting off a well 
known peculiarity of almost any community. Written for middle-aged 
women, and a sure hit with the audience. Price, 2g cents 

THE COUNTRY DOCTOR 

A Comedy Drama in Four Acts by Arthur Lewis Tubbs. Six males, five 
/emales. Costumes, modern ; scenery, two interiors. Plays two hours 
Easy to stage and full of interest. The female parts are the stronger, being 
exceptionally good. Negro and " hayseed " comedy parts. A very strong 
dramatic piece. Can be recommended. Price, 55 cents 



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Plays for Junior High Schools 



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Sally Luon 

Mr. Bob 

The Man from Brandoa 

A Box of Monkeys 

A Rice Pudding 

Class Day 

Chums 

An Easy Mark 

Pa's New Housekeeper 

Not On the Program 

The Cool Collegians 

The Elopement of Elleo 

Tommy's Wife 

Johnny's New Suit 

Thirty Minutes for RefresbfflCiite 

West of Omaha 

The Flying Wedge 

My Brother's Keeper 

The Private Tutor 

Me an' Otis 

Up to Freddie 

My Cousin Timmy 

Aunt Abigail and the Boyr 

Caught Out 

Constantlne Pueblo Jotaes 

The Cricket On the Heartb 

The Deacon's Second Wife 

Five Fc^t of Love 

The flurdy Gurdy Qlrl 

Camp Fidelity Girls 

Carroty Nell 

A Case for Sherlock Helmet 

The Clancey Kids 

The flappy Day 

I Grant You Three WIshe* 

Just a Little Mistake 

The Land of Night 

Local and Long Distance 

The Original Two Bits 

An Outsider 

Oysters 

A Pan of Fudge 

A Peck of Trouble 

A Precious Pickle 

The First National Boot 

flis Father's Son 

The Turn In the Road 

A Half Back's Interference 

The Revolving Wedge 

Mose 



3 
3 
3 

2 
2 
4 
3 
5 
3 
3 
3 
4 
3 

2 
4 
4 
3 
5 
5 
5 
3 

2 

9 
9 
lo 
6 
6 

5 
9 
I 



7 
14 

9 
lo 

5 
II 



^ 4 
4 
4 
3 
3 
3 

2 

2 
2 
3 

4 
3 
5 
5 
3 
3 
5 
3 
3 
4 
6 
8 

2 

2 
4 
7 
6 
6 

9 
II 

lo 
H 

7 

14 

5 

ig 
6 
7 
7 
6 
6 
5 
7 

2 



3 

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BAKER, Hamilton Place, Boston, 



Tim* 

\% hrs. 

lyi " 

'A " 

IX " 

IX " 

H " 

H " 

I " 

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1/2 " 

2 " 

X " 

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2 " 

2 " 

IX " 

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Mass. 



Prlct 

25c 
25c 
-25c 
25c 

25c 
25c 

25c 
25 c 

25c 

25c 
25 c 

35c 
25c 

25 c 
25c 

25(5 

25c 

3S<- 
25c 

25c 

25c 
25 c 
25c 

35c 

25 c 

35c 

25c 

35c 
35c 

25c 

35c 
25c 
25 c 
25c 
25c 

25c 
25c 
25c 
25c 
25c 
25c 
25c 
25c 
25c 

35c 

25c 
25c 
25c 

2''C 



1 



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" Winners " 






Malti 


' »mah 


Tint 


PrUt 


Rtjaltf 




Camp Fidelity Girls 




II 


2}4 hrs. 


35c 


None 




Anita's Trial 




II 


2 " 


35c 


« 




The Farmerette 




7 


2 " 


35c 


« 




Behind the Scenes 




12 


l/z " 


35c 


« 




The Camp Fire Girls 




>S 


2 " 


35c 


K 




A Case for Sherlock ilolmeR 




lo 


lyi " 


35c 


« 




The House in Laurel Lane 




6 


iVz " 


25c 


« 




Her First Assignment 




lO 


I " 


25c 


" 




1 Grant You Three Wishes 




14 


K " 


25c 


« 




Joint Owners in Spain 




4 


'A " 


35c 


;?S.oo 




Marrying Money 




4 


Yz " 


25c 


None 




The Original Two Bits 




7 


% " 


25c 


« 


The Over-Alls Club 




lO 


% " 


25c 


« 


Leave it to Polly 




II 


1% " 


35<^ 


<i 




The Rev. Peter Brice, Bachelor 




7 


Yz " 


25c 


<i 


Mfss Fearless & Co. 




lO 


2 « 


35c 


« 


A Modern Cinderella 




i6 


iX " 


35c 


« 




Theodore, Jr. 




7 


U " 


25c 


M 


Rebecca's Triumph 




|6 


2 •' 


3SC 


« 


Aboard a Slow Train la Mizzoury 


8 


14 


2Y2 " 


35c 


II 




Twelve Old Maids 




^S 


I " 


25 c 


" 


An Awkward Squad 


8 




X " 


2SC 


H 


The DlowUp of Algeraoo Blow 


8 




Yz " 


25c 


« 




The Doy Scouts 


ao 




2 " 


35c 


•• 


A Close Shave 


6 




Y2 " 


25c 


« 


Tbe First National Boot 


7 


f 


I •• 


25c 


«< 




A Half- Back's Inteifcrence 


lO 




¥ " 


25c 


« 


His Father's Son 


14 




«X " 


35c 


" 


The Man With the Nose 


8 




H " 


25c 


« 




On the Quiet 


12 




lYz " 


35c 


M 


The People's Money 


II 




lU " 


25c 


« 


A Regular Rah t Rah I Boy 


14 




«X " 


35c 


« 




A Regular Scream 


II 




iU " 


35c 


e< 


Schmerccase in School 


9 




I " 


25 c 


« 


The Scoutmaster 


lO 




2 " 


3SC 


i< 




The Tramps' Convention 


17 




1Y2 " 


25c 


(1 


The Turn in the Road 


9 




I'A " 


25c 


« 


Wanted— a Pitcher 


II 




Yz " 


25c 


« 




What They Did for Jenkins 


14 




2 " 


25c 


" 




Aunt Jerusha's Quilting Party 


4 


12 


iX " 


25c 


« 


The District School at Blueberry 














Corners 


12 


17 


I " 


25c 


«< 




The Emigrants' Party 


24 


10 


I " 


25c 


M 


Miss Prim's Kindergarten 


lO 


II 


i'A " 


25c 


« 




A Pageant of History 


Any number 


2 " 


35c 


« 




The Revel of the Year 


«« 


« 


H " 


25c 


" 


Scenes in the Union Depot 


« 


« 


I " 


25c 


" 




Taking the Census In Bingville 


14 


8 


I'A " 


25c 


" 




The Village Post-Office 


22 


20 


2 " 


35c 


« 


O'Keefe's Circuit 


12 


8 


iK " 


35c 


It 




BAKER, Hamilton Place. 


Boston, 


Mass. 


















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181778 



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